In Here we are, now entertain us, the artist reflects on the uneasy relationship between humans and machines — between the mechanical and the emotional, the useful and the absurd. The installation stages a quiet performance: speakers play gentle jazz to no one in particular, while blenders whirr to life only when someone stands before them. On the wall, a framed plăcintă — hanging like a sacred object, while its counterparts are slowly crushed in the blenders behind. This interplay of sound, movement, and ritual reveals the contradictions of our time: the desire for perfection, beauty, and progress, set against a deep nostalgia for what has already been lost. The work reflects on a world built around human presence — a world that keeps running, producing, and entertaining even when no one is watching. The speakers continue to play, performing without purpose, echoing the absurd persistence of human systems that outlive their creators. The plăcintă becomes both an offering and a casualty. It embodies cultural memory and belonging, yet it is subjected to the same processes of consumption and destruction that shape modern life. 

At once humorous and uncomfortable, the installation occupies a space of ambiguity. It invites viewers to linger between recognition and unease — to listen to the soothing banality of jazz, to watch machines perform their endless labor, and to wonder who is serving who. In the end, the absurdity continues. In the silence after the noise, only the question remains: how much of what we destroy defines us, and how much of what we create survives us?